‘Looking Into You’ a well-deserved tribute to singer-songwriter Jackson Browne

Few performers deserve a lovingly assembled tribute album such as “Looking Into You,” but Jackson Browne makes the cut. Browne is one of the most consistent and enduring artists to arise from the singer-songwriter era of the 1970s.

So many wanted to contribute to the project, coming out Tuesday, that it was decided to split its 23 tracks over two CDs.

Bruce Springsteen and wife Patti Scialfa are the marquee names here, and they contribute a pleasantly romantic duet on the mariachi-influenced ballad “Linda Paloma.”

Another Bruce, Bruce Hornsby, takes one of Browne’s most convincing rockers, “I’m Alive,” and crafts it into a delicately picked bluegrass romp whose sawing fiddles and plucked banjos soar with at least as much spirit as the guitar-powered original.

Bonnie Raitt delivers a pure, unaffected vocal on “Everywhere I Go,” with David Lindley’s reggae toasting a surprisingly pleasant bonus on this sturdy, tuneful rendition.

Keb’ Mo’ brings his clean, precise blues guitar playing to a spirited “Rock Me on the Water,” aided by a gospel chorus, while folkie Shawn Colvin needs only an acoustic guitar and a brilliant Browne song, “Call It a Loan,” to command attention thanks to her riveting vocal.

The album’s compilers say they couldn’t decide which Browne cover by Lyle Lovett was better, so they included both “Our Lady of the Well” and “Rosie” — and they are both standouts. Lovett completely nails Browne’s feel for rhythm and phrasing without resorting to mere imitation.

Some lesser-known artists shine as well, most notably Ohio songwriter Griffin House, who transforms a Browne deep cut, “The Barricades of Heaven,” into a riveting tour de force that makes the song sound like an unearthed treasure.

Everyone involved tries very hard on “Looking Into You,” sometimes too much so. Lucinda Williams’ voice sounds idiosyncratic even for her on “The Pretender,” and she never quite captures its essence despite almost seven minutes of trying.

But the misfires are far outnumbered by first-rate efforts, and only lack of space prevents me from giving proper notice to excellent tracks by siblings Sean and Sara Watkins of Nickel Creek, Bob Schneider, Eliza Gilkyson and others.

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All of the artists on the compilation share an obvious affection for Browne’s music. One gets the feeling that some of its cuts run longer than usual because the performers just don’t want to let go of the songs.

“Looking Into You” is that rare bird among tribute albums. It stands on its own merits, and it also will send you back to the originals to see if Browne’s songwriting really was this good. The short answer: yes.